Every song writer knows that the cadence of the
lyrics must match the natural cadence of the
language. And the rhythm has to enforce that.
For instance, if 'Sunday' appears, and the singer is
forced to pronounce SunDAY, that will hurt the listener's ears.
But occasionally, this rule is breakable.
As example, Irving Berlin's "White Christmas".
In natural speech, one would stress:
"I'm DREAMING of a white CHRISTMAS."
Not heavy stresses, but still there, subtle. But actually,
the song is performed as:
"I'M dreaming of a WHITE Christmas."
And it works, beautifully!
Interviewer: "Is that the best song you ever wrote?"
Berlin: "It's the best song ANYBODY ever wrote."
So, quiz time, gang: can you find any such examples
in the GDead opus?
Mark
Every song writer knows that the cadence of the
lyrics must match the natural cadence of the
language. And the rhythm has to enforce that.
For instance, if 'Sunday' appears, and the singer is
forced to pronounce SunDAY, that will hurt the listener's ears.
But occasionally, this rule is breakable.
As example, Irving Berlin's "White Christmas".
In natural speech, one would stress:
"I'm DREAMING of a white CHRISTMAS."
Not heavy stresses, but still there, subtle. But actually,
the song is performed as:
"I'M dreaming of a WHITE Christmas."
And it works, beautifully!
can you find any such examples in the GDead opus?
“His job is to shed light 💡… not to MASTER”
Probably there’re a lot more examples, particularly in the irregular-cadence Hunter and Weir/Barlow canon, but I haven’t had enough coffee yet to think more deeply on this topic…
Every song writer knows that the cadence of thecan you find any such examples in the GDead opus?
lyrics must match the natural cadence of the
language. And the rhythm has to enforce that.
But occasionally, this rule is breakable.
As example, Irving Berlin's "White Christmas".
In natural speech, one would stress:
"I'm DREAMING of a white CHRISTMAS."
Not heavy stresses, but still there, subtle. But actually,
the song is performed as:
"I'M dreaming of a WHITE Christmas."
And it works, beautifully!
Probably there’re a lot more examples, particularly in the
irregular-cadence Hunter and Weir/Barlow canon, but I haven’t had enough >> coffee yet to think more deeply on this topic…
A couple of cases in Jack Straw -
On September 26, Mark-T wrote:
Every song writer knows that the cadence of thecan you find any such examples in the GDead opus?
lyrics must match the natural cadence of the
language. And the rhythm has to enforce that.
But occasionally, this rule is breakable.
As example, Irving Berlin's "White Christmas".
In natural speech, one would stress:
"I'm DREAMING of a white CHRISTMAS."
Not heavy stresses, but still there, subtle. But actually,
the song is performed as:
"I'M dreaming of a WHITE Christmas."
And it works, beautifully!
Probably there’re a lot more examples, particularly in the
irregular-cadence Hunter and Weir/Barlow canon, but I haven’t had enough
coffee yet to think more deeply on this topic…
A couple of cases in Jack Straw -"Catch the DEtroit Lightning out of Santa Fe"
(note the irregular stress)
(correctly pronounced:) https://upload.wikimedia.org/wikipedia/commons/d/df/Fr-Le_D%C3%A9troit.ogg
"WE can share the women..."
Scarlet Begonias:
"I knew right away she was not like other girls"
(emphasis on "I")
Mark
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